I've been hitting play and record for 22 years as of November 12, 1986, when I recorded Sonic Youth live at a long gone venue in Tallahassee, FL. White Kross from that show was released on 7" by NME the following year. I was hooked.

Recently myself and Newton Carter began a joint production team called The Atom Brothers. Our first project as that team was Brantley Gilbert's upcoming release. For more on The Atom Brothers please visit our website.

I don't believe that recorded music is art in the way live performance is - if it were there'd be no differentiation between them. Recording frees the artist to experiment, move forward, move back, cover up, remove, puthis over here, put this on top of that, etc., if they wish. It is more akin to painting as opposed to a live performance which might be a photograph. The colors can be clean, woooley, clouded, shrouded, bright, dark, varied in any way. "Does it sound good?" is really secondary to "Does it sound right?". Painting. This is not to suggest that performance isn't freeing, just that it's a different freeing.

I enjoy making recordings from the very simple to the very complicated, whether the performance be nearly live or brought to the studio completely unfinished My listening ranges from Tom Waits to Bartok to Brian Wilson to Nick Drake to...

Through the years I've made many studio and live recordings and mixed countless records. In some capacity these include The Whiges, The Vigilantes of Love, Love Tractor, Kenosha Kid, Buzz Hungry, Grand Ole Party, Jennifer Nettles, The League Of Crafty Guitarists, REM, Bill Mallonee, Dromedary, Buzz Hungry, Sonic Youth, Saccharine Trust, fIREHOSE, The Allman Brothers Band, The Neville Brothers, Government Mule, Robert Randolph, the Dirty Dozen Brass Band, Luke Bryan, Brantley Gilbert...

21 November, 2009